6 Aralık 2012 Perşembe

Index




Landscape and Linear Perspective

  • What is Linear Perspective?
  • What is Landscape?
-Natural Landscape

-Cultural Landscape (Cityscape)


Linear Perspective Destruction and Subjectivity

  • Why and how linear perspective is accepted as the only way of seeing as a rule?

  • Why objectivity is not possible even if there is a representation mimicking the image that is seen to naked eye?

  • Subjectivity vs. Objectivity

Painting vs Photography as Mediums for Expressing Subjectivity


  • The differences between starting with a blank canvas and an image appeared through lens.

  • Şeker Ahmet Paşa’s Ormanda Oduncu and Murat Germen’s Muta-morphosis Series as tw different subjective approaches to landscape.

Referances and Notes




1.Denis Cosgrove, "Prospect, Perspective and the Evolution of the Landscape Idea", Transactions of the Institute of British Geographers, New Series, Vol. 10, No. 1 (1985): 45-62.

Pavel Florenski, Tersten Perspektif, trans. Yeşim Tükel ( İstanbul: Metis, 2001),

Vasile Cristescu, "The Reverse Perspective in the Orthodox Iconography According to P. Florenski: A Dogmatic Perspective," European Journal of Science and Theology,
Vol.5, No.1(2009):41-50.

Murat Germen, "Subjectivity in Contemporary Visualization of Reality: Re-visiting Ottoman miniatures", Sabancı University (2012). ( learn where it is published)



 
 



 






 

The Representation of Subjective Space in Turkey After Tanzimat Reform Era up to Today

Subjectivity and the Destruction of Linear Perspective


After Tanzimat Reform Era, the influence of western art and linear perspectival representation forms were increased in paintings due to the emerge of the French-oriented education of the artists.
A distinctive representation form of space was developed with the combination of linear perspective and the effects of the former perspective view of miniature. To make references i will chronologically start with a painting of Şeker Ahmet Paşa; Woodcutter in The Forest and end up with Murat Germen's Muta-morphosis and Ahmet Elhan's Diptychs to search out why and how a this kind of destruction of linear perspective is used to express subjectivity.

 

Keywords: Subjectivity, Painting, Photography, Reality, Representation, Landscape, Linear Perspective

 

Landscape and Linear Perspective

 

I always find much more interesting the visual works that have a unique subjectivity that is based on specifically the individual creative language of the creator. In this text I will focus especially on subjectivity in landscape paintings and photographs. However the lexical meaning of landscape is; a section or expanse of rural scenery, usually extensive, that can be seen from a single viewpoint, in this text i will use the term also including city scenery. Using natural landscape and cultural landscape terms may help to distinguish them from each other.

 The landscape, as it understood from its lexical meaning, has generally accepted as a picture of a scene depicted from one-point linear perspective. Linear perspective, is a mathematical system to draw a three-dimensional physical space on a two dimensional surface, with using lines and a vanishing point to show how the apparent size of an object diminishes with distance.
 
The pictures with linear perspectival point of view mimicks the scene that is seen from a 'stable' eye position. In 15th century, this eye located on a particular position on the ground and freezed in a particular time was accepted as the main tool for creating a 'realist' representation of space[1]. As Denis Cosgrove (1984, 5) confirms, this pictorial form and its relation with reality was not questioned until the nineteenth century:
             
             The artist, through perspective, establishes the arrangement or composition, and thus thespecific   time, of the   events described, determines in both senses the 'point of view' to be taken by the observer, and controls through framing the scope of reality revealed. Perspective technique was so effective that the realist conventions which it underlay were not fundamentally challenged until the nineteenth century.
 
                 
 
 
References and Notes
 
1. Denis Cosgrove, "Prospect, Perspective and the Evolution of the Landscape Idea", Transactions of the Institute of British Geographers, New Series, Vol. 10, No. 1 (1985): 45-62. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
In 15th century, with the rise of humanism, the concept of reality shifted towards the physical reality that is seen to human eye rather than

 

 

I will compare and contrast two artworks to question how individual perception and so the creative language changes from culture to culture and from time to time. One is a painting from Tanzimat Reform Era and the other one is series of photograph from today.

 

5 Aralık 2012 Çarşamba

Index




Landscape and Linear Perspective

 
  • What is a Landscape?
           -Natural Landscape

           -Cultural Landscape (Cityscape)

  • What is Linear Perspective?

 
Linear Perspective Destruction and Subjectivity

 
  • Why and how linear perspective is accepted as the only way of seeing as a rule?

  • Why objectivity is not possible even if there is a representation mimicking the image that is seen to naked eye?

  • Subjectivity vs. Objectivity

 
Painting vs Photography as Mediums for Expressing Subjectivity

 

  • The differences between starting with a blank canvas and an image appeared through lens.

  • Şeker Ahmet Paşa’s Ormanda Oduncu and Murat Germen’s Muta-morphosis Series as tw different subjective approaches to landscape.

 

 

28 Kasım 2012 Çarşamba

Questions




When and how linear perspective became a way of seeing? and why it is accepted as an unchangeable rule?

How and why the way of seeing and so the visual language has changed through time, especially in Turkey since Tanzimat Reform Era up until now?

25 Kasım 2012 Pazar

notes



What is 'space'? what is subjectivity?

find some philosophical thoughts of Kant, Deleuze.. on time and space. and also perception.

19 Kasım 2012 Pazartesi

some notes about creative practice



       Creative expression (or creative practice) provides a visible/ tangible/ audible... space for psychological analysis, i think. If we accept that creation relies on a problem or let us say a subject that the mind does not accept and get over it without transforming or basically expressing it, then the creation is something like an autonomous gesture, a reaction of the mind. So after i take a photograph or make a video, when i look at it, i realize/ see something beyond my conscious intention. so the idea of finding clues about how i perceive and how i feel about a subject(?)  through a finished worked is the main reason of creative expression, i suppose..  (to be continued)